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E910
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Hong Manjong on
Appended Corrections (Compendium of Remarks on Poetry)
Entry Text
知詩難於作詩。自古。能詩者。咸以選詩為難。余聞之先輩。趙石磵所選。三韓龜鑑。多所缺畧。柳夢窩。大東詩林。未免固詖。徐。四佳東文選。卽一類聚。亦非選法。蘇陽。〔暘〕谷續東文選。取舍不公。頗因愛憎。金佔畢靑邱風雅。只取精簡。遺其發越。柳西坰續靑邱風雅。與奪不明。不得其要領。惟許筠國朝詩刪。澤堂諸公皆稱善揀。詩刪之盛行於世。蓋以此也。然其中所為鬼作兩首伽倻仙女詩。及。李顯郁詩。皆古人所作。故余表而出之。以破其虛杗。伽倻仙女詩。卽國初人都元興。次林椿諸人。嶺南樓詩。韻。而與地勝覽。所錄也。其詩云。金碧樓明壓水天。昔年誰構此峯前。一竿漁父雨聲外。十里行人山影邊。入人檻雲生巫峽曉。逐波花出武陵烟。沙鷗但聽陽關曲。那識愁深送別筵。李顯郁詩。卽皇明王陽明。廬山開元寺作也。載在本集。其詩云。秋山路僻問歸樵為指前峯石逕遙。僧與白雲還暝壑。月隨滄海上寒潮。世情老去渾無賴。幽興年來獨未銷。回首孤船又陳跡。疎鍾隔渚夜迢迢。噫筠乃假設姓名。欲瞞後人眼目何哉。且以世情。老去語意見之。必是人間語而非鬼作明矣。余之此論。近於老吏斷獄。陽明有靈想抵掌於冥冥也
Knowing poetry is more difficult than writing poetry. Since ancient times, capable poets have found selecting poems challenging. I hear from my predecessors: Samhan si kwigam 三韓詩龜鑑 (Mirror of Poetry from the Three Kingdoms of Korea) compiled by Cho Unhŭl greatly suffers from omissions and cursoriness. Yu Hŭiryŏng’s Taedong sirim (Poetry Anthology of the Great East) did not avoid rigidity and sycophancy. Sŏ Kŏjŏng’s Tongmunsŏn (Anthology of Eastern Literature) is not so much an anthology as an assorted aggregation. Sok Tongmunsŏn 續東文選 (Sequel to Anthology of Eastern Literature) by So Seyang was not fair in its selection, based rather on his own likes and dislikes. Ch’ŏnggu p’unga (Airs and Odes from the Blue Hills) by Kim Chongjik included highly refined poems only and left out spontaneously inspired poems. As for Yu Kŭn’s Sok Ch’ŏnggu p’unga 續靑丘風雅 (Sequel to Airs and Odes from the Blue Hills), it is unclear as to why some were selected and others not; his selection criteria are incomprehensible. Only the Kukcho sisan (Poems Culled from Our Country) by Hŏ Kyun won the praise of Yi Saek and others for its great selection. From it emerged a practice of collecting and editing works of poem in the world. However, in it, the two poems purportedly written by ghosts, and “A Poem by Kaya Mountain Fairy” 伽倻仙女詩 and a poem by Yi Hyŏnuk 李顯郁 (16th century)are in effect works written by prior poets. I will therefore mark them and debunk such preposterousness. “A Poem by Kaya Mountain Fairy” is none other than a poem that To Wŏnhŭng 都元興 (14th century) from early Chosŏn composed by matching the rhyme of the poems by Im Ch’un and others. It was recorded in the Tongguk yŏji sŭngnam 東國輿地勝覽 (Survey of the Geography of Korea). According to it, 金碧樓明壓水天昔年誰構此峯前一竿漁父雨聲外十里行人山影邊入檻雲生巫峽曉逐波花出武陵煙沙鷗但聽陽關曲那識愁心送別筵 The Gold-Green Tower glows,weighing down on the sky’s reflection in the water. Who, in the bygone years, builtthe tower facing this mountain peak? An angler with a fishing rod sits yonder the sound of rain. A traveler of ten-li journey passes by the shadow of mountain.Through the railing, the clouds riseat dawn in the Wu Gorge. Rolling with the waves, flowers emergethrough the mist at Wuling.The gulls at the beach only listento the tune of the Yang Pass. How could they understand the sorrowful heartsat the farewell feast? The poem by Yi Hyŏnuk is none other than a poem that the Ming scholar Wang Yangming composed at Kaiyuan Monastery in Mt. Lu. The poem is recorded in his anthology, and it reads, 秋山路僻問歸樵為指前峰石徑遙僧與白雲還暝壑月隨滄海上寒潮世情老去渾無賴幽興年來獨未消回首孤航又陳跡疏鐘隔渚夜迢迢 In the autumn mountain, on a secluded path,I ask a returning woodcutter.He points at the peak in frontto a distant rocky trail.Monks and white cloudsreturned to the dusky ravine.The moon, following the blue sea,rises above the cold tides.In worldly cares, I’ve aged,still nowhere to rest on.Through the years, my delight in seclusion alone has not vanished.I look back at my lonely boatleaving the trace again.A bell tolls now and then across the islet,the night is long and long. Alas! Why did Hŏ cite incorrect authors and wish to deceive posterity? Moreover, the expression and meaning (ŏŭi) like “In worldly cares, I’ve aged” 世情老去 make it clear that the poem must be the words of the mortal, not a work of a ghost. My argument here is akin to an experienced official’s judgment by evidence. I imagine if Wang Yangming’s spirit exists, it would be applauding in the underworld.
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